during the festival we will have an installation space with the following films:

A Bigger Splash
Martin Borden (Canada)
This video follows the poignant life of a discarded latex condom. After serving humanity valiantly, we see it explores self-awareness, love and eventually dissolution and death.

Aporia
Zeynep Dagli (UK)
The film represents a dream sequel; a clash between internal and external creating an impasse, an aporia through the physical and emotional states. Using moving image as a rhetorical device it offers a puzzlement, confusion and doubt in between two states of mind.

Body Regained / Cuerpo Recobrado
Jaime del Val (Spain)
Microsexes explode in a body that has become amorphous and unintelligible, regained from the tyranny of representation and meaning, post-intimate, postqueer and post-postpornographic. What could be a sex relation between two male bodies becomes an open landscape that redefines the frontiers of the speakable.

Fearful of Bubbles
Meerak Meinohg aka Kareem Ghoniem (UK)
„fearful of bubbles“ was conceived on a comedown, poking investigations into the glimpses of paradise, stumbling in our minds like a broken record. What are the elements that comprise this hedonistic notion of a paradise passed; these moments of synchronised empathies…and how sustainable can these moments be?

Here is my Honey
Evelyn Rüsseler (Germany)
Here is my Honey is a film on sexuality and nature, becoming creature.

Véronique à Vélo
Berny Hi, Chrystene Ells (Canada)
Véronique sits in a gilded cage of romantic expectations, impatiently awaiting her chronically late date. Realizing that she has been stood up, she takes to her bicycle in a burst of frustration and embarks on a ride across the city and through a looking glass, where she encounters surreal characters and schisms in reality and time, and finally, while „à vélo,“ undergoes a simple yet definitive transformation in consciousness. Inspired by the French New Wave films of Jean-Luc Godard, Véronique à vélo features several recognizable references to his unique directional style, from mirror gags to dance steps to jump cuts, and also pays homage to his contemporaries, including nods to François Truffaut’s The 400 Blows and the comedic sound effect work of Jacques Tati.